Fiddles on Fire Orchestre à Cordes - Débutant Alfred Publishing
By Mark Williams. Music by Mark Williams. For String Orchestra. String Orchestra...(+)
By Mark Williams. Music
by Mark Williams. For
String Orchestra. String
Orchestra. Strictly
Strings Series. Level: 1
(grade 1). Conductor
Score and Parts. 1 pages.
Published by Alfred
Publishing.
Violet's Tango Orchestre à Cordes [Conducteur] Alfred Publishing
By Doug Spata. Music by Doug Spata. For String Orchestra. String Orchestra. Stri...(+)
By Doug Spata. Music by
Doug Spata. For String
Orchestra. String
Orchestra. String
Orchestra. Conductor
Score. 8 pages. Published
by Alfred Publishing.
(Featuring: The Quidditch World Cup (The Irish) / Hogwarts' Hymn / Neville's Wal...(+)
(Featuring: The Quidditch
World Cup (The Irish) /
Hogwarts' Hymn /
Neville's Waltz). By
Patrick Doyle. Arranged
by Bob Cerulli.
Orchestra. String
Orchestra. Pop Beginning
String Orchestra. Light
Concert; Movie. Grade 2.
Conductor Score. 12 pages
Composed by Franz Joseph Haydn (1732-1809). Arranged by Ed Zunic. Masterworks; P...(+)
Composed by Franz Joseph
Haydn (1732-1809).
Arranged by Ed Zunic.
Masterworks; Part(s);
Score; SmartMusic; String
Orchestra. Belwin Concert
String Orchestra.
Classical; Graduation;
Masterwork Arrangement.
124 pages. Published by
Belwin Music (AP.35936).
Prairie Lullaby Orchestre à Cordes [Conducteur et Parties séparées] - Débutant Carl Fischer
Orchestra String Orchestra - Grade 1 SKU: CF.BAS5 Composed by Joseph Comp...(+)
Orchestra String
Orchestra - Grade 1
SKU: CF.BAS5
Composed by Joseph
Compello. SWS - FS. Carl
Fischer Beginning String
Orchestra Series.
Classical. Score and
Parts. With Standard
notation.
12+8+8+5+5+5+3+2 pages.
Duration 2:30. Carl
Fischer Music #BAS5.
Published by Carl Fischer
Music (CF.BAS5).
ISBN
9780825845086. UPC:
798408045081. 8.5 X 11
inches. Key: D
major.
The musical
effect of Prarie
Lullaby should be
graceful and serene,
evocative of a peaceful
night on the open plains.
To that end, players will
need to strive for an
unlabored rhythmic flow,
smooth bowing and a
clear, steady tone as
close to p as
possible. Beginning at
m.39, the violin and
viola parts are marked
pizzicato. If
young players are unable
to return quickly to
argo at m.53,
they may make the bow
preparation easier by
taking a full measure
rest at m.52. This option
is marked in the parts
and score. The divisi
notes at m. 69 are
provided for ensembles
which lack violas.
Ensembles with violas may
have them play the lower
notes while the second
violins play the upper
notes. Percussion, which
is completely optional,
should be very subdued.
Choose a bell mallet
which allows the tones to
be heard just above the
strings. the woodblock
part is intended to
imitate the clip-clop
sound of a horse's
hooves. Two different
sizes of woodblocks or
temple blocks are needed.
Finding two suitable
sounds on one woodblock
is difficult. Again, the
right mallets are very
important. The suspended
cymbal should be played
with brushes if the
string ensemble is small.
If the suspended cymbal
with brushes cannot be
heard above a large
number of strings, then
sticks should be used
instead. The percussion
part can be performed by
one player, provided the
instruments and mallets
are set up properly and
the player has the skill
to make the transitions
smoothly. Note the
optional rest at mm.
53-54. Performance time
with the repeat is two
and a half
minutes. The musical
effect ofA Prarie
LullabyA should be
graceful and serene,
evocative of a peaceful
night on the open plains.
To that end, players will
need to strive for an
unlabored rhythmic flow,
smooth bowing and a
clear, steady tone as
close toA p as
possible. Beginning at
m.39, the violin and
viola parts are markedA
pizzicato. If
young players are unable
to return quickly toA
argo at m.53,
they may make the bow
preparation easier by
taking a full measure
rest at m.52. This option
is marked in the parts
and score. TheA
divisiA notes at
m. 69 are provided for
ensembles which lack
violas. Ensembles with
violas may have them play
the lower notes while the
second violins play the
upper notes. Percussion,
which is completely
optional, should be very
subdued. Choose a bell
mallet which allows the
tones to be heard just
above the strings. the
woodblock part is
intended to imitate the
clip-clop sound of a
horse's hooves. Two
different sizes of
woodblocks or temple
blocks are needed.
Finding two suitable
sounds on one woodblock
is difficult. Again, the
right mallets are very
important. The suspended
cymbal should be played
with brushes if the
string ensemble is small.
If the suspended cymbal
with brushes cannot be
heard above a large
number of strings, then
sticks should be used
instead. The percussion
part can be performed by
one player, provided the
instruments and mallets
are set up properly and
the player has the skill
to make the transitions
smoothly. Note the
optional rest at mm.
53-54. Performance time
with the repeat is two
and a half
minutes. The musical
effect ofA Prarie
LullabyA should be
graceful and serene,
evocative of a peaceful
night on the open plains.
To that end, players will
need to strive for an
unlabored rhythmic flow,
smooth bowing and a
clear, steady tone as
close toA p as
possible. Beginning at
m.39, the violin and
viola parts are markedA
pizzicato. If
young players are unable
to return quickly toA
argo at m.53,
they may make the bow
preparation easier by
taking a full measure
rest at m.52. This option
is marked in the parts
and score. TheA
divisiA notes at
m. 69 are provided for
ensembles which lack
violas. Ensembles with
violas may have them play
the lower notes while the
second violins play the
upper notes. Percussion,
which is completely
optional, should be very
subdued. Choose a bell
mallet which allows the
tones to be heard just
above the strings. the
woodblock part is
intended to imitate the
clip-clop sound of a
horse's hooves. Two
different sizes of
woodblocks or temple
blocks are needed.
Finding two suitable
sounds on one woodblock
is difficult. Again, the
right mallets are very
important. The suspended
cymbal should be played
with brushes if the
string ensemble is small.
If the suspended cymbal
with brushes cannot be
heard above a large
number of strings, then
sticks should be used
instead. The percussion
part can be performed by
one player, provided the
instruments and mallets
are set up properly and
the player has the skill
to make the transitions
smoothly. Note the
optional rest at mm.
53-54. Performance time
with the repeat is two
and a half
minutes. The musical
effect of Prarie
Lullaby should be
graceful and serene,
evocative of a peaceful
night on the open plains.
To that end, players will
need to strive for an
unlabored rhythmic flow,
smooth bowing and a
clear, steady tone as
close to p as
possible. Beginning at
m.39, the violin and
viola parts are marked
pizzicato. If
young players are unable
to return quickly to
argo at m.53,
they may make the bow
preparation easier by
taking a full measure
rest at m.52. This option
is marked in the parts
and score. The divisi
notes at m. 69 are
provided for ensembles
which lack violas.
Ensembles with violas may
have them play the lower
notes while the second
violins play the upper
notes. Percussion, which
is completely optional,
should be very subdued.
Choose a bell mallet
which allows the tones to
be heard just above the
strings. the woodblock
part is intended to
imitate the clip-clop
sound of a horse's
hooves. Two different
sizes of woodblocks or
temple blocks are needed.
Finding two suitable
sounds on one woodblock
is difficult. Again, the
right mallets are very
important. The suspended
cymbal should be played
with brushes if the
string ensemble is small.
If the suspended cymbal
with brushes cannot be
heard above a large
number of strings, then
sticks should be used
instead. The percussion
part can be performed by
one player, provided the
instruments and mallets
are set up properly and
the player has the skill
to make the transitions
smoothly. Note the
optional rest at mm.
53-54. Performance time
with the repeat is two
and a half
minutes. The musical
effect of Prarie Lullaby
should be graceful and
serene, evocative of a
peaceful night on the
open plains. To that end,
players will need to
strive for an unlabored
rhythmic flow, smooth
bowing and a clear,
steady tone as close to p
as possible. Beginning at
m.39, the violin and
viola parts are marked
pizzicato. If young
players are unable to
return quickly to argo at
m.53, they may make the
bow preparation easier by
taking a full measure
rest at m.52. This option
is marked in the parts
and score. The divisi
notes at m. 69 are
provided for ensembles
which lack violas.
Ensembles with violas may
have them play the lower
notes while the second
violins play the upper
notes. Percussion, which
is completely optional,
should be very subdued.
Choose a bell mallet
which allows the tones to
be heard just above the
strings. the woodblock
part is intended to
imitate the clip-clop
sound of a horse's
hooves. Two different
sizes of woodblocks or
temple blocks are needed.
Finding two suitable
sounds on one woodblock
is difficult. Again, the
right mallets are very
important. The suspended
cymbal should be played
with brushes if the
string ensemble is small.
If the suspended cymbal
with brushes cannot be
heard above a large
number of strings, then
sticks should be used
instead. The percussion
part can be performed by
one player, provided the
instruments and mallets
are set up properly and
the player has the skill
to make the transitions
smoothly. Note the
optional rest at mm.
53-54. Performance time
with the repeat is two
and a half
minutes. The musical
effect of Prarie
Lullaby should be
graceful and serene,
evocative of a peaceful
night on the open plains.
To that end, players will
need to strive for an
unlabored rhythmic flow,
smooth bowing and a
clear, steady tone as
close to p as
possible.Beginning at
m.39, the violin and
viola parts are
marked pizzicato. If
young players are unable
to return quickly
to argo at m.53, they
may make the bow
preparation easier by
taking a full measure
rest at m.52. This option
is marked in the parts
and
score.The divisi no
tes at m. 69 are provided
for ensembles which lack
violas. Ensembles with
violas may have them play
the lower notes while the
second violins play the
upper notes.Percussion,
which is completely
optional, should be very
subdued. Choose a bell
mallet which allows the
tones to be heard just
above the strings. the
woodblock part is
intended to imitate the
clip-clop sound of a
horse's hooves. Two
different sizes of
woodblocks or temple
blocks are needed.
Finding two suitable
sounds on one woodblock
is difficult. Again, the
right mallets are very
important. The suspended
cymbal should be played
with brushes if the
string ensemble is small.
If the suspended cymbal
with brushes cannot be
heard above a large
number of strings, then
sticks should be used
instead.The percussion
part can be performed by
one player, provided the
instruments and mallets
are set up properly and
the player has the skill
to make the transitions
smoothly. Note the
optional rest at mm.
53-54.Performance time
with the repeat is two
and a half minutes.
About Carl
Fischer Beginning String
Orchestra
Series
Thi
s series of Grade 1
pieces is designed for
first year string groups.
The pieces in this series
are characterized by:
Limited parts
(often 2nd violin and
viola are the same part,
cello and bass are same
part)
Limited
keys and rhythms - only
simple 8th note
patterns
Stony Brook Waltz Orchestre à Cordes [Conducteur et Parties séparées] - Facile Alfred Publishing
By Sara Bongo and Robert Moore. Orchestra. Part(s); Score; String Orchestra. Hig...(+)
By Sara Bongo and Robert
Moore. Orchestra.
Part(s); Score; String
Orchestra. Highland
String Orchestra. Form:
Waltz. Grade 2. 124
pages. Published by
Alfred Music
Composed by Doris Gazda.
Edited by Amy Rosen.
FS-SWs. Carl Fischer
Concert String Orchestra
Series. Score and Parts.
With Standard notation.
20+24+24+6+15+15+15
pages. Carl Fischer Music
#CAS7. Published by Carl
Fischer Music (CF.CAS7).
ISBN 9780825847578.
UPC: 798408047573. 8.5 X
11 inches. Key: D
major.
When you
have the good fortune to
visit Red Rock country in
the southwestern United
States, you will all at
once feel that majesty
and beauty in the
towering red landscape.
You can trek, bike,
paddle, ride horseback or
drive through the
canyons, past the
strangely shaped rocks
and over the enormous
boulders. Each time you
turn a corner you will be
dazzled by yet another
magnificent vista. The
Red Rock areas in Utah,
Nevada, Arizona and New
Mexico formed millions of
years ago when that part
of North America was
primarily under water.
The water left behind the
shells and skeletons of
sea creatures that
gradually turned into
limestone and similar
rocks. Beginning 225
million years ago, the
earth's crust began to
move and the seabed
slowly rose. Streams
entering the shallow
water deposited mud and
sand that turned into
shale and marine
sandstone. As the land
continued to rise and dry
out, some of the rocks
oxidized (combined with
oxygen) and turned red in
color. Subsequently the
area was covered with
sands that eventually
compressed into what is
called Aztec sandstone.
Sometimes, when iron was
concentrated in the rock,
the sandstone turned a
bright red color.
Following the
introduction, the music
in Red Rock Rag takes on
a typical ragtime melody
and rhythm. It then
transitions by changing
key, time signature and
the structure into a
swing waltz. At m. 60, it
moves into a combined
time signature of one
measure of 3/4 time and
two measures of 2/4 time
with an occasional lick
in the bass line.
Finally, it moves back
into the swing-waltz
style and finishes with
the original ragtime
melody. Red Rock Rag
is challenging
stylistically and
rhythmically. It would be
appropriate to study both
the ragtime and swing
styles while working on
it. When you have the
good fortune to visit Red
Rock country in the
southwestern United
States, you will all at
once feel that majesty
and beauty in the
towering red landscape.
You can trek, bike,
paddle, ride horseback or
drive through the
canyons, past the
strangely shaped rocks
and over the enormous
boulders. Each time you
turn a corner you will be
dazzled by yet another
magnificent vista. The
Red Rock areas in Utah,
Nevada, Arizona and New
Mexico formed millions of
years ago when that part
of North America was
primarily under water.
The water left behind the
shells and skeletons of
sea creatures that
gradually turned into
limestone and similar
rocks. Beginning 225
million years ago, the
earth's crust began to
move and the seabed
slowly rose. Streams
entering the shallow
water deposited mud and
sand that turned into
shale and marine
sandstone. As the land
continued to rise and dry
out, some of the rocks
oxidized (combined with
oxygen) and turned red in
color. Subsequently the
area was covered with
sands that eventually
compressed into what is
called Aztec sandstone.
Sometimes, when iron was
concentrated in the rock,
the sandstone turned a
bright red color.
Following the
introduction, the music
in Red Rock Rag takes on
a typical ragtime melody
and rhythm. It then
transitions by changing
key, time signature and
the structure into a
swing waltz. At m. 60, it
moves into a combined
time signature of one
measure of 3/4 time and
two measures of 2/4 time
with an occasional lick
in the bass line.
Finally, it moves back
into the swing-waltz
style and finishes with
the original ragtime
melody.A Red Rock
RagA is challenging
stylistically and
rhythmically. It would be
appropriate to study both
the ragtime and swing
styles while working on
it. When you have the
good fortune to visit Red
Rock country in the
southwestern United
States, you will all at
once feel that majesty
and beauty in the
towering red landscape.
You can trek, bike,
paddle, ride horseback or
drive through the
canyons, past the
strangely shaped rocks
and over the enormous
boulders. Each time you
turn a corner you will be
dazzled by yet another
magnificent vista. The
Red Rock areas in Utah,
Nevada, Arizona and New
Mexico formed millions of
years ago when that part
of North America was
primarily under water.
The water left behind the
shells and skeletons of
sea creatures that
gradually turned into
limestone and similar
rocks. Beginning 225
million years ago, the
earth's crust began to
move and the seabed
slowly rose. Streams
entering the shallow
water deposited mud and
sand that turned into
shale and marine
sandstone. As the land
continued to rise and dry
out, some of the rocks
oxidized (combined with
oxygen) and turned red in
color. Subsequently the
area was covered with
sands that eventually
compressed into what is
called Aztec sandstone.
Sometimes, when iron was
concentrated in the rock,
the sandstone turned a
bright red color.
Following the
introduction, the music
in Red Rock Rag takes on
a typical ragtime melody
and rhythm. It then
transitions by changing
key, time signature and
the structure into a
swing waltz. At m. 60, it
moves into a combined
time signature of one
measure of 3/4 time and
two measures of 2/4 time
with an occasional lick
in the bass line.
Finally, it moves back
into the swing-waltz
style and finishes with
the original ragtime
melody.A Red Rock
RagA is challenging
stylistically and
rhythmically. It would be
appropriate to study both
the ragtime and swing
styles while working on
it. When you have the
good fortune to visit Red
Rock country in the
southwestern United
States, you will all at
once feel that majesty
and beauty in the
towering red landscape.
You can trek, bike,
paddle, ride horseback or
drive through the
canyons, past the
strangely shaped rocks
and over the enormous
boulders. Each time you
turn a corner you will be
dazzled by yet another
magnificent vista. The
Red Rock areas in Utah,
Nevada, Arizona and New
Mexico formed millions of
years ago when that part
of North America was
primarily under water.
The water left behind the
shells and skeletons of
sea creatures that
gradually turned into
limestone and similar
rocks. Beginning 225
million years ago, the
earth's crust began to
move and the seabed
slowly rose. Streams
entering the shallow
water deposited mud and
sand that turned into
shale and marine
sandstone. As the land
continued to rise and dry
out, some of the rocks
oxidized (combined with
oxygen) and turned red in
color. Subsequently the
area was covered with
sands that eventually
compressed into what is
called Aztec sandstone.
Sometimes, when iron was
concentrated in the rock,
the sandstone turned a
bright red color.
Following the
introduction, the music
in Red Rock Rag takes on
a typical ragtime melody
and rhythm. It then
transitions by changing
key, time signature and
the structure into a
swing waltz. At m. 60, it
moves into a combined
time signature of one
measure of 3/4 time and
two measures of 2/4 time
with an occasional lick
in the bass line.
Finally, it moves back
into the swing-waltz
style and finishes with
the original ragtime
melody. Red Rock Rag
is challenging
stylistically and
rhythmically. It would be
appropriate to study both
the ragtime and swing
styles while working on
it. When you have the
good fortune to visit Red
Rock country in the
southwestern United
States, you will all at
once feel that majesty
and beauty in the
towering red landscape.
You can trek, bike,
paddle, ride horseback or
drive through the
canyons, past the
strangely shaped rocks
and over the enormous
boulders. Each time you
turn a corner you will be
dazzled by yet another
magnificent vista. The
Red Rock areas in Utah,
Nevada, Arizona and New
Mexico formed millions of
years ago when that part
of North America was
primarily under water.
The water left behind the
shells and skeletons of
sea creatures that
gradually turned into
limestone and similar
rocks. Beginning 225
million years ago, the
earth's crust began to
move and the seabed
slowly rose. Streams
entering the shallow
water deposited mud and
sand that turned into
shale and marine
sandstone. As the land
continued to rise and dry
out, some of the rocks
oxidized (combined with
oxygen) and turned red in
color. Subsequently the
area was covered with
sands that eventually
compressed into what is
called Aztec sandstone.
Sometimes, when iron was
concentrated in the rock,
the sandstone turned a
bright red color.
Following the
introduction, the music
in Red Rock Rag takes on
a typical ragtime melody
and rhythm. It then
transitions by changing
key, time signature and
the structure into a
swing waltz. At m. 60, it
moves into a combined
time signature of one
measure of 3/4 time and
two measures of 2/4 time
with an occasional lick
in the bass line.
Finally, it moves back
into the swing-waltz
style and finishes with
the original ragtime
melody. Red Rock Rag is
challenging stylistically
and rhythmically. It
would be appropriate to
study both the ragtime
and swing styles while
working on it. When
you have the good fortune
to visit Red Rock country
in the southwestern
United States, you will
all at once feel that
majesty and beauty in the
towering red landscape.
You can trek, bike,
paddle, ride horseback or
drive through the
canyons, past the
strangely shaped rocks
and over the enormous
boulders. Each time you
turn a corner you will be
dazzled by yet another
magnificent vista.The Red
Rock areas in Utah,
Nevada, Arizona and New
Mexico formed millions of
years ago when that part
of North America was
primarily under water.
The water left behind the
shells and skeletons of
sea creatures that
gradually turned into
limestone and similar
rocks. Beginning 225
million years ago, the
earth's crust began to
move and the seabed
slowly rose. Streams
entering the shallow
water deposited mud and
sand that turned into
shale and marine
sandstone. As the land
continued to rise and dry
out, some of the rocks
oxidized (combined with
oxygen) and turned red in
color. Subsequently the
area was covered with
sands that eventually
compressed into what is
called Aztec sandstone.
Sometimes, when iron was
concentrated in the rock,
the sandstone turned a
bright red
color.Following the
introduction, the music
in Red Rock Rag takes on
a typical ragtime melody
and rhythm. It then
transitions by changing
key, time signature and
the structure into a
swing waltz. At m. 60, it
moves into a combined
time signature of one
measure of 3/4 time and
two measures of 2/4 time
with an occasional lick
in the bass line.
Finally, it moves back
into the swing-waltz
style and finishes with
the original ragtime
melody. Red Rock
Rag is challenging
stylistically and
rhythmically. It would be
appropriate to study both
the ragtime and swing
styles while working on
it.
Orchestra String Orchestra - Grade 3.5 SKU: FJ.ST6490 Arranged by David G...(+)
Orchestra String
Orchestra - Grade 3.5
SKU: FJ.ST6490
Arranged by David
Giardiniere. Series;
String Orchestra. FJH
String Orchestra. Form:
Dance. Christmas; Fiddle;
Holiday Pops. Score and
Part(s). The FJH Music
Company Inc #98-ST6490.
Published by The FJH
Music Company Inc
(FJ.ST6490).
UPC:
241444411858.
English.
The joy of
the Christmas season
flows through every
measure of this
delightful holiday reel
that turns your violin
section into Celtic
fiddlers. Good King
Wenceslas and Deck the
Hall are intertwined with
the classic reel
Christmas Eve that will
challenge and delight
your players. Use
optional bodhran (hand
drum), guitar and
pennywhistle to bring the
true spirit of Scotland
to your holiday
concert.
About FJH
String
Orchestra
More emphasis on bow
technique and
independence of lines.
For the accomplished
middle, high school,
college, or professional
group. Grade 3 and up
By Patrick Doyle. Arranged by Bob Cerulli. Music by Patrick Doyle / arr. Bob Cer...(+)
By Patrick Doyle.
Arranged by Bob Cerulli.
Music by Patrick Doyle /
arr. Bob Cerulli. For
String Orchestra. String
Orchestra. Pop Beginning
String Orchestra. Movie.
Conductor Score and
Parts. Published by
Alfred Publishing.
Level: 2 (Red) (grade
2 Red).
Prairie Lullaby Orchestre à Cordes [Conducteur] - Débutant Carl Fischer
Orchestra String Orchestra - Grade 1 SKU: CF.BAS5F Composed by Joseph Com...(+)
Orchestra String
Orchestra - Grade 1
SKU: CF.BAS5F
Composed by Joseph
Compello. Carl Fischer
Beginning String
Orchestra Series. Full
score. With Standard
notation. 12 pages. Carl
Fischer Music #BAS5F.
Published by Carl Fischer
Music (CF.BAS5F).
ISBN
9780825845093. UPC:
798408045098. 8.5 X 11
inches.
The musical
effect of Prarie
Lullaby should be
graceful and serene,
evocative of a peaceful
night on the open plains.
To that end, players will
need to strive for an
unlabored rhythmic flow,
smooth bowing and a
clear, steady tone as
close to p as
possible.Beginning at
m.39, the violin and
viola parts are
marked pizzicato. If
young players are unable
to return quickly
to argo at m.53, they
may make the bow
preparation easier by
taking a full measure
rest at m.52. This option
is marked in the parts
and
score.The divisi no
tes at m. 69 are provided
for ensembles which lack
violas. Ensembles with
violas may have them play
the lower notes while the
second violins play the
upper notes.Percussion,
which is completely
optional, should be very
subdued. Choose a bell
mallet which allows the
tones to be heard just
above the strings. the
woodblock part is
intended to imitate the
clip-clop sound of a
horse's hooves. Two
different sizes of
woodblocks or temple
blocks are needed.
Finding two suitable
sounds on one woodblock
is difficult. Again, the
right mallets are very
important. The suspended
cymbal should be played
with brushes if the
string ensemble is small.
If the suspended cymbal
with brushes cannot be
heard above a large
number of strings, then
sticks should be used
instead.The percussion
part can be performed by
one player, provided the
instruments and mallets
are set up properly and
the player has the skill
to make the transitions
smoothly. Note the
optional rest at mm.
53-54.Performance time
with the repeat is two
and a half minutes.
About Carl
Fischer Beginning String
Orchestra
Series
Thi
s series of Grade 1
pieces is designed for
first year string groups.
The pieces in this series
are characterized by:
Limited parts
(often 2nd violin and
viola are the same part,
cello and bass are same
part)
Limited
keys and rhythms - only
simple 8th note
patterns
This
volume in Leggierissimo
series contains character
pieces and dances, most
of them transcriptions of
piano pieces, though they
also include excerpts
from the ballets Swan
Lake, The Nutcracker and
The Sleeping Beauty.
This volume in
the Leggierissimo
series contains character
pieces and dances, most
of them transcriptions of
piano pieces, though they
also include excerpts
from the ballets Swan
Lake, The Nutcracker
and The
SleepingBeauty.Instru
mentation: 3 vl1, 3 vl2,
3 vl3, 2 vlcThe
Leggierissmo
series - growing
repertoire for children's
and youth string
orchestras (position
1)
Die
Leggerierissmo-Rei
he von Editio Musica
Budapest umfasst
Stücke, mit und an
welchen
Kinderstreichorchester
wachsen können. Jede
Ausgabe ist in der ersten
Lage spielbar und
enthält Partitur und
Stimmen (Violine 3
entspricht Viola).Die
Ausgabe Tchaikovsky:
Dreizehn leichte
Stücke enthält
Charakterstücke und
Tänze, die meisten
davon ursprünglich
für Klavier
geschreiben, aber auch
Auszüge aus
Schwanensee, dem
Nussknacker und
Dornröschen.
Enthaltene Stimmen: 3x
Violine 1, 3x Violine 2,
3x Violine 3, 2x
Cello.
By Richard Meyer. Music by Richard Meyer. For String Orchestra. String Orchestra...(+)
By Richard Meyer. Music
by Richard Meyer. For
String Orchestra. String
Orchestra. Strictly
Strings Series. Level: 1
(grade 1). Conductor
Score and Parts. 36
pages. Published by
Alfred Publishing.